ALEXANDER NIKOLAEVICH VESELOVSKY (1838-1906) IS WIDELY REGARDED AS RUSSIA'S MOST DISTINGUISHED AND INFLUENTIAL Literary theorist before the formation of Opoyaz (“Society for the Study of Poetic Language”), whose members—Viktor Shklovsky, Boris Eikhenbaum, Yury Tynianov, Roman Jakobson, and others—developed the approach generally known as Russian formalism. Readers of Shklovsky may note the prominence accorded to Veselovsky in Theory of Prose (1925). Some will also recall the use of the term historical poetics—in reference to the method put forward by Veselovsky—in the 1963 edition of Mikhail Bakhtin's book on Dostoevsky and in his “The Forms of Time and Chronotope in the Novel: Notes towards a Historical Poetics” (1937-38, pub. in 1975). Another eloquent testimony to Veselovsky's spectral ubiquity in Russian literary theory is the concluding paragraph of Vladimir Propp's pathbreaking Morphology of the Folktale, where Propp humbly asserts that his “propositions, although they appear to be new, were intuitively foreseen by none other than Veselovsky” and ends his study with an extensive quotation from Veselovsky's Poetics of Plot (115-16). It is rarely recognized, however, that Veselovsky's method, in its rudimentary form, constitutes a common denominator of Shklovsky's, Bakhtin's, and Propp's widely divergent approaches.

Correspondance was a belgian surrealist magazine, from the earliest years of the movement, that can be read as a Challenge to the notions of surrealism promoted in André Breton's Manifesto of Surrealism of 1924. It was a self-published periodical comprising twenty-two one-page tracts, written and distributed over seven months in 1924 and 1925 by three francophone Belgian writers, Paul Nougé, Camille Goemans, and Marcel Lecomte. The most important of these was undoubtedly the one who published least: Nougé, the intellectual leader of the Brussels surrealist group. In addition to scattered publications of startling originality throughout the 1920s and 1930s, he was at that time also a key promoter of René Magritte's art; at weekly meetings of the group (whose members had day jobs and could only gather on Sunday), Magritte's latest paintings were discussed, and Nougé, mostly, proposed their enigmatic titles.

IN THE DECADES FOLLOWING WORLD WAR II, AMERICANS WHO BELIEVED IN THE BOOK'S TRANSFORMATIVE POWER ENJOYED SHARING THEIR literary wealth with readers in the developing world. Through the Darien Book Aid Project (founded in 1949), The Freedom House Bookshelf (founded in 1958), Books USA (BUSA; founded in 1962), and other programs, they sent bundles of American paperbacks to would-be readers in countries where books were scarce and expensive. Such experiments in what international-relations scholars call people-to-people diplomacy aimed to harness the energies of America's growing middlebrow reading public to the nation's Cold War aims.

Book-donation programs shared the realist aesthetic and humanist sensibility that hallmarked the Book-of-the-Month Club (BOMC). Disdaining avant-garde “difficulty,” their selections foregrounded transparent language, traditional mimesis, and strong themes. Fiction, biography, and popular history were the backbone of such programs, and even selections from sociology and political thought centered on unambiguous, three-dimensional characters—individuals who embodied the Enlightenment virtues of rational thought, hard work, and tolerance.